Ranu Mukherjee’s work explores states of excess, drawing links between present day global capitalism and animism still residual in our collective psyche. Occupying fragments as a generative source, she makes and unmakes images, culling content from a variety of diverse sources ranging from 19th century Indian lithographs to images of current events. Through layering and recombining, she creates an amalgam of media, subjects, ideas and time frames within the same space. Her hybrid films, paintings and textiles look at the construction of culture through creolization, the nomadic, ecology, speculative fiction, desire and the unknown.
awkwardness and beauty. engaging the visceral through a hybrid and visibly crafted aesthetic
color. the space of color, the life of color, the non white-ness of color. Michael Taussig’s What Color is the Sacred? color as an actor, context or stage.
creolization. inventing visual forms of Creole, encouraging broad recognition of the complex legacies making up the urban environment. elements sometimes flow together smoothly, and at others are jammed together awkwardly. this is the construction of culture. the making of work that is at least bi-lingual.
excess. paying a certain kind of attention. working with the excess produced by instrumentalized narratives, information, bodies, objects, everything. the sheer amount of focus and work it takes to resist the forces of instrumentalization.
fragment as a unit of measurement. pictorial wholeness no longer makes sense. the incomplete is familiar.
landscape as a stage and an energetic body. the compressed spaces of body, stage and picture plane. the specificity of place. the importance of the experiential in the making of meaning. the crossing syntaxes of project based work and picture making.
neo-animist. vibrant matter, a distributed body. identification with a wide spectrum of organic matter. A deep ecology. Expansiveness.
neo-futurist. speculative fiction. the narratives we have about the future- literary, journalistic, popular and data driven. the unknown and the resistance to explaining it all away.
nomadic. the condition of contemporary life- the un-static. the contradiction between a desirable philosophical space and a potentially exhausting life style. sometimes through desire, sometimes a condition of work, war and other forms of violence, economics. an uprooting and spreading of visual matter and information. a demand. a demand on artists.
0rphandrift a collective artist/entity that emerged in 1994 through Suzie Karakashian, Ranu Mukherjee, Mer Maggie Roberts and Erle Stenberg, plus several collaborators. Recently re-emergent. www.orphandriftarchive.com
procession a form able to carry individual expressions within collective production. performance of reassembled mythologies.
time travel. the expansiveness of the body and the ability to perceive differing temporal scales- some that are epic. The scale by which energy takes affect.
tentacles i am the mother of triplets. i make things in 3’s. i have been 2 boys and a girl. i have grown 3 organs. i was well prepared for motherhood through speculative fiction and cyberpunk. i make work which has at least one easily accessible dimension. i think about what we leave.
unknown, the stranger within myself. the stranger that is half of my DNA. making space for the unknown to guide the work. the resistance to explaining it all away.
xeno-real. pictures from late 19th and early 20th century India which describe the beginning of the post-colonial. the playing out of the post-colonial.